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This February I sat in a room for an hour and a half with about a hundred people and watched Jerry play solo and talk about dobros.   The guy is simply amazing.

The guitar player currently touring with him, Guthrie Trapp, is something special, too.

Tube amp.  Or a "valve" if you're over across the pond.  VOX makes a great amp, but what you really want is a tube, no matter who makes it.

I sent this via PM, but I figure it aught to be out there for everyone's bennefit.

Nope. Not a musician in any other sense than ameture. I have a much better grasp of music theory than I do an ability to apply it to the finger board. Smile

Anyway, fretting the chord you want isn't that hard, no matter what it's called.

Here's how I derived it.

-1- <- Here's your F

-0- <- Here's a B

-4- <-- Here's the same B

-3- <-- Here's another F

-3- <-- Here's C

-x-

A little bit of a stretch, but if I can play it, so can you. Smile

Good luck!

I'm not quite sure what you're asking here. 

WRT the F# on the "low" string, I'm assuming you mean the E string. If your guitar is tuned in the standard maner (EADGBE) any note on the E string is the same note on the little e string.  In other words, strings 1 and 6 are tuned identically.  If you don't like the voicing of the note on the 1st string, play it on the 6th and see if you like it.

The "name" of a chord made up of F-B-C would depend on what the root note is.  Lets assume F.

F is one flat, the B.  The F major scale is

1 2 3 4  5 6 7

F G A Bb C D E

So you're playing the I and V, and a sharpened IV.  This would be some type of sustained chord.  If you were playing the Bb rather than a plain old B, it would be an Fsus4, which is really easy to play on the guitar.

-1-

-1-

-3-

-3-

-3-

-1-

Perhaps it's F/C?   Either way, it looks like it would sound odd, what with the half step between the B and the C.

Hope that helped!

If it makes you feel better, I've seen some truly great players drop the pick in the tone hole every now and again.

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>accousticplayer wrote on Sat, 17 March 2007 22&#58;33</b></td></tr><tr><td class="quote">
Sooooo... tell me...

what's the use for scales, if one's only going to be basically playing chords only as well as mostly playing-by-ear.

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Well, if all you're going to do is play someone else's songs, and only play chords, you'll probably never need to know.

If you're going to play lead lines, or write your own music,  or even improvise or jam with chords, you'll probably want to have some understanding of scales, as they are the underpinning of western music.

Everything is derived from scales.  Chords are derived from scales.  Chord progressions are derived from scales (at least the ones that resolve nicely).  Modes are derived from scales.   Pretty much anything you do on the fretboard relates back to a scale of one kind or another. 

Found a chord you don't know?  Can you figure it out without resorting to a chord chart or a chord book?   You can if you know scales.   Can you transpose from one key to another easily?  I can, because I know scales.  Can you improvise in any key?  Scales make that easy.

So, are scales critical?  No.  You *can* play without them.  Will they help you immensely to become a better musician?  Absolutely.

The quality of the amp makes a huge difference.   A small tube amp will cost you about $100, and the sound they make is amazing.

Crappy amp = crappy tone.

Seems like it, which is why I think the Csus2 was actually the right call.

I'm way better at theory than I am at the fretboard, but knowing theory has made learning the fretboard way easier, and made me a much better player.

Anyway, there are some oddities with extended chords  (the 7s, and 9s and 11s and 13s).  They are really "jazz" chords, and we all know those jazz guys are always a bit off.  <img src="images/smiley_icons/icon_biggrin.gif" border=0 alt="Very Happy">   For the most part, the number indicates which note of the scale you'd add to the chord, but there are some caveats.

If you play any blues, you play 7 chords.  Given the  explanation before, it would seem that a C7 would mean you add a B to the chord, but that's not the case.  7 chords are also known as "dominant" 7s, and you really add a flattened 7th (Bb in the case of a C7) so it's different.  A straight up 7 chord as I described above would be a "major 7" indicating you're staying true to the major scale.   So if you see that in a chord chart, that's what it means.  It took me a while to get the difference between a maj7 and a 7 chord, as the descriptions are backwards.  It makes more sense to call the dom7 a "flat7" chord and the "maj7" the 7 chord.  But I don't make the rules.

<img src="images/smiley_icons/icon_biggrin.gif" border=0 alt="Very Happy">

So anyway, in the case of a D2, we can break it down like this.

D major scale

1 2 3  4 5 6 7

D E F# G A B C# 

So D major is D F# A.

If it's a sus2, you'd use E instead of F# and if it's a straight up D2, then you'd add the E inclusive of the F#.

I guess if I was going to stress any one thing, it's learn the major scales.  The entirety of western music is based on them.  All your chords are derived from scales.  All your modes are derived from scales.  The beauty is that they aren't really all that complicated.

I got me a brand new set of Dean Markley ball end nylon strings right here in front of me.  I can't wait for the D'Addario's to wear out so I can replace them.    <img src="images/smiley_icons/icon_rolleyes.gif" border=0 alt="Rolling Eyes">

Ha!

I'm way beyond that.  I told my daughter her friends could only come over if they gave me lessons.  <img src="images/smiley_icons/icon_biggrin.gif" border=0 alt="Very Happy">

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>The Ev1l Sa1nt wrote on Tue, 15 August 2006 03&#58;36</b></td></tr><tr><td class="quote">
I've changed my mind, and I now need some nice, easy, blues song suggestions and who they're by. Please help me!!!
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Learn pentatonic minor scale patterns, and you can pretty much play them all.

A minor in particular.

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>scrimmy82 wrote on Mon, 12 March 2007 19&#58;13</b></td></tr><tr><td class="quote">
Thanks for that.

I practice every day but my fingers are too short <img src="images/smiley_icons/icon_sad.gif" border=0 alt="Sad">
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Get your wrist way out in front of the fretboard, and you'll be surprised at how much you can grow your fingers.  <img src="images/smiley_icons/icon_smile.gif" border=0 alt="Smile">

It will feel a bit awkward at first, but you'll catch on.

You can do it.